An audio/video tour of compositions, performances, and technical developments that inform the diversity of electroacoustic music. Composition genres facilitated by electronic means such as process music, microtonality, ambient, aleatory; and electronic transformations of keyboards, guitars, drums, winds, and voice are explored. Landmark compositions, songs, soundscapes, and performances are placed in a broader context that runs the gamut from early avant-garde through current popular genres. The classroom listening experience is extended via the 50+ page annotated discography designed for long-term study. This course provides a focused introduction to the culture and repertoire of music technology, a requisite for those who intend to work in the field. A selected film that features electronic sound design and/or electroacoustic music is screened during midterm and final exam weeks.

This course provides a comprehensive introduction to the electronic music studio. Emphasis is placed on understanding analog and digital audio concepts, analog and digital signal flow, audio connections and gain-staging, console vs. control surface paradigms, DAW set-up and usage, studio signal flow, the recording process, microphone usage, and signal processors used in recording and mixing.

Study of principles and use of modules (oscillators, filters, amplifiers, envelope generators) found in software and hardware modular sound production systems. Focus is on observing signal characteristics at outputs, and defining signal functions (audio, control, timing) solely via connections to inputs. “Sonic deconstruction” and other electronic ear training techniques are presented, and correlative original sound designs are produced by students. In addition to class participation, students are supervised in weekly hands-on practice in EP/D labs, where an array of software and hardware systems are available.

A comprehensive study of MIDI and other control systems in the context of electronic music production. Focus is given to the integration of hardware and software synthesizers, digital audio, and controllers into the sequencing/DAW environment. The MIDI specification and its practical applications in music production and sound design will be explored. A wide range of sequencing projects includes music for commercials, electronica, and performance-oriented control techniques.

Focuses on electroacoustic music in the film score. Highlights electronic musical instruments, computer software, and electronic techniques used to create and synchronize music, Foley, SFX (sound effects), and dialogue to picture. Illustrated voluminously with film clips and DVD supplements, from the coming of sound in film (circa 1927) through the modern era. Real time or mediated demonstrations of techniques such as click track, punches and streamers, Pro Tools mix down, pitch shifting, audio reversal, ADR (automated dialogue replacement), etc., are shown in class. This course familiarizes class members with archetypal electroacoustic underscores, industry terminology, and standard practices used to produce sound for picture. It is a useful initiation for those who intend to produce sound/music to picture for feature films, industrials, animation, advertising, and video games. A selected film that features electronic sound design and/or electroacoustic music is screened during midterm and final exam weeks.

A study of composition devices such as hemiola, stretto, polymeter, canon, augmentation/diminution, antiphony, pointillism, streaming, hocketing, ostinato, spatialization, etc. used by professional electronic media (e.g., video game, film score, telecommunications, internet) composers and sound designers. Harmony and its devices are not considered. Students are challenged to show how the classic devices of music composition can be extended using electronic technology. Participants compose original sound sketches, and a longer digital audio/MIDI production that illustrate fluency with the musical devices presented in class. Class members also excerpt commercially available music of their choice that features discernible musical devices, and group analyses are developed in class.

Based on the concepts and skills learned in EP-220 Studio Technologies, this course places a primary emphasis on the improvement of student productions through effective mixing techniques. Mix balance, equalization, dynamics, and other signal processing techniques will be explored and applied to a series of projects. Genre-specific techniques will be discussed, in addition to electronic music styles and sound design scenarios.

An advanced project-oriented course focused on the mastery of an integrated electronic production environment using a wide variety of hardware and software. Emphasis is placed on advanced techniques in MIDI sequencing with audio production. These techniques are applied in a series of projects including orchestral emulation, music and sound design for animation, and remixes of existing vocal tracks. Supporting topics include advanced real-time control of synthesis parameters, manipulation of musical time and tempo, and effectively working with various rhythmic feels. Special attention will be paid to integrating hardware instruments and controllers in a software-based DAW production environment.

This advanced course expands upon the concepts and techniques learned in EP-223 Modular Functions and Signal Flow. Concentrated ear training and pitch dictation help students to identify and create unusual and dynamic instrumental sounds and sound effects, and their applications in live performance, film, electronic music production, and video game audio.

This course is a portfolio development workshop focusing on interactive media. Weekly assignments will build fluency in file formats, encoding tools, and authoring platforms. Through successful completion of these projects, students will become adept in the basics of video preparation, audio for online and DVD formats, and Flash interface design.

A creative study of the musical aesthetics involved with composing and arranging in a wide range of popular Indian musical genres, including pop songs, remix hits, and classical forms. Utilizing a variety of electronic programming and production techniques, students will complete a series of guided projects that effectively demonstrate the contemporary application of Indian ragas, musical instrumentation, and popular stylistic repertoire.

A global study of curves, graphic displays, and mapping tech- niques that undergird practical use of electronic sound produc- tion systems. Focuses on aural and visual aids to understanding rather than taking a purely mathematical approach. Topics include principles of linearity and nonlinearity in: relationships and functions; input responses and attenuator calibrations; pitch vs. frequency shifting; AM and FM sideband production; and envelope generator segment curves. Creative mapping using logic gates (AND, OR, NOR, etc.) is introduced. Graphic displays in selected software applications are examined to reveal the curves implicit when waveform and spectrum are represented. This course presents the pervasive graphical-mathematical ele- ments common to digital audio applications and their displays, and facilitates advanced studies in sonic arts.

This is a class in electronic production and design using Csound, one of the world’s most powerful and versatile software synthesizers and signal processors. At the algorithmic level, students will design and compose using classic synthesis techniques such as additive, subtractive, waveshaping, wavetable, granular, scanned, RM, AM, PM, FM, FOF, and physical modeling. Students will learn how this powerful software synthesisizer language has been applied in game audio, sound design for TV, film, advertising, and graduate research in computer music and music perception.

This course explores working in situations which typify the demands of commercial music production. This includes composing in a wide variety of idioms, to specific stylistic direction, and under common constraints that effect commercial music composition. These projects require the student to draw upon their skills in composition, electronic music production, and sound design. This course will confront the student with issues and problems common to the working composer, music producer and sound designer.

An overview of the electronically produced/processed voice, with exploration of: human voice mechanics; formants in speech and singing; time-stretching granular techniques; channel and phase vocoders; parametric EQ; and formant (fixed) filters. Theoretical underpinnings and practical examples of the transformative power of convolution are presented. Synergistic “dymaxion” music composition approaches that exercise elements learned in class are suggested, as alternatives to familiar software sequencer production. Students are provided weekly hands-on access to EP/D labs, where a variety of software and hardware systems are available. This course culminates in a public concert, and is suitable for those who recognize the central role that electronically produced and processed voices play in: video games; animation; advertising; contemporary songwriting; and telecommunications.

A class in electronic production and design using Max/MSP, arguably one of the world’s most powerful and intuitive multimedia programming languages. Students will prototype, design, and program stand-alone audio applications and VST plugin versions of wind chimes, music boxes, softsynths, samplers, drum machines, groove boxes, audio processors, and remixers and learn to control them with game controllers such as the Nintendo wiiMote. Students will apply algorithmic composition techniques to the systems that they design, and learn to utilize noise, fractals, and chaos as a means of humanizing their software creations. The class culminates in a public laptop jam session using the original software designed by the students.

This course will examine the technical and creative processes involved with adapting electronic composition and production for live performance. Topics to be covered include the development of repertoire in various electronic genres, set organization and improvisational strategies, hardware and software integration, expressive real-time control, and considerations for solo and ensemble stage presentation.

This course focuses on the study of the generation of original, exotic sound textures and unusual synthetic instrumental timbres derived from acoustic sounds recorded from studio and field sources. Digital signal processing and studio production techniques as used by the industry’s top game and film sound designers are discussed and practiced.

A class in C programming with projects tailored specifically to the progressive electronic musician. Working initially from the Terminal application, using the GNU Compiler Collection on Mac OS X, and later with Apple’s XCODE Integrated Developer Environment (IDE), the student will write musical programs and audio units that do algorithmic composition, software synthesis, and signal processing. This software engineering class is the first step toward the design of one’s own custom synthesis and signal processing tools; and as such, will provide both a marketable technical skill as well as satisfying a highly regarded and often required prerequisite for graduate programs in computer music and music technology.

This class provides the student with an opportunity to create portfolio pieces of original compositions using software and hardware tools. We will study a variety of approaches to composing and realizing works with an emphasis on developing the use of line, rhythm, harmony, orchestration and form. Weekly assignments include electronic realization of musical excerpts, readings by composers, listening, and analysis. Technical topics will be explored by the group as needed.

A project-based course covering basic design principles and production techniques used in producing sound for animation. Students will work in collaboration with senior animation students at the Massachusetts College of Art to produce three short animation projects. Animation is a part of practically every form of entertainment that uses visual elements, from feature films and television programs to video games and websites. Most, if not all, musicians will work with this medium at some point in their career. Class meetings will explore the historical roots of sound and music for animation through screenings, case studies, and assigned readings. From this, students will develop the skills necessary to analyze an animation and create a variety sound elements: music, sound effects, and vocal elements. At various times throughout the semester, the class will meet at MassArt in joint meetings with student animators for directed review of their work.

This course challenges students to design and produce audio content for a series of projects. Utilizing the studio and lab resources of the department, students will produce content that ranges from spoken word to sound and music mixed in surround. Students are introduced to techniques and applications that are essential for pursuit of a variety of professional opportunities in the areas of sound design and audio production for film, video games, TV, and radio, as well as all types of music production.

Using Ableton Live, Reaktor, Max, Jitter, OSC, Csound, and C, students design and program their own interactive games and audio/video remixers. These systems use the department’s cutting edge collection of MIDI and wireless controllers: the Mathews Radio Baton, Buchla Lightning, Haiken Continuum, Lemur, AudioCubes, Monome, and the iPhone; sensor systems such as the iCube, MIDItron, and IBVA BrainWave-to-MIDI Interface; and game controllers such as the P5 DataGlove and the Nintendo wiiMote. This class also focuses on electronics and circuit-bending. Students breadboard and build a custom analog synth; they modify and extend several sound-making toys; and they add photocells to their Oxygen8 keyboards. The class culminates in a public interactive audio installation and circuit-bent jam session using the original software, synths, controllers, and systems designed by the students.

A precursor to EP-491, Advanced Seminar combines master class and private lesson settings for the electronic production and design major. Master class topics include group assessment of each student’s portfolio work, group critiques, and technical instruction as needed. Assessment and analysis tools are provided to discuss music composition/production as well as the integration of music and sound design for picture and games. Business and career preparations will also be discussed. The private lesson component allows each student to develop skills and musicianship with direct mentoring from the instructor.

A theoretical and practical exploration of open-source digital signal processing software, audio-units, and plugins. Student projects focus on the innovative production, remixing, and compositional use of pitch shifting, time scaling, phase vocoding, spectral filtering, cross-synthesis, and convolution. In addition to composing avant-garde DSP-based audio art, students will learn how to use these powerful techniques to design new and unique sounds for advertising, film, television, animation, and games, and produce experimental and innovative pop.

A practical exploration of digital signal processing music and sound design projects, including composition, remixing, and mastering, with emphasis on key techniques of DSP and their applications in audio production. The class explores the implementation and application of common DSP functions in software applications, and how they are effectively applied in these projects.

This class provides the student with an opportunity to create visual projections for their original compositions using MAX/MSP/Jitter and other programs as needed. We will study a variety of approaches to creating interactive video for music performance, installation, and net-art works. Students will then create software and art works using audio, video, and various controllers for input. Weekly assignments will include reading, programming projects, and short live performances. The final project can be a performance or installation using original software.

An exploration of excitation/resonance models of sound production: Karplus-Strong (string), brass, and woodwind modeling using digital signal processing in a dedicated hardware environment; use of software-based modeling for pedagogical purposes; exploration of Fourier or additive synthesis and formant theory in a hardware environment.

This course explores an expansive set of historically innovative academic works, which students translate into cutting-edge commercial approaches to composition and production. The student will compose a graduate school application portfolio of modal, serial, atonal and microtonal audio art based on and inspired by the analysis of masterworks in the following genres: ambient, minimal, glitch, sound object, soundscape, and sound collage. Through listening, modeling, and formal musical analysis of both alternative pop and mainstream acousmatic masterworks, each student comes to better understand the creative process and their unique personal creative process; and along the way discovers and cultivates a more personal and original musical voice.

This course focuses on production of the capstone Electronic Production and Design project and provides for individual attention within a small group setting. The specific nature of the project will be determined by written agreement between student and instructor. Each student will also be required to participate in the jury process as well as the Senior Showcase at the end of the semester.

Monitored and evaluated professional work experience in an environment related to the electronic production and design major. Placement is limited to situations available from or approved by the Office of Experiential Learning and the Electronic Production and Design department chair or designee. To apply for an internship, students must see the internship coordinator in the Office of Experiential Learning prior to registering. Note: Equivalent credit for prior experience is not available due to the requirement of concurrent contract between the employer/supervisor and the college. International students in F-1 status must obtain authorization on their Form I-20 from the Counseling and Advising Center prior to beginning an internship.

An introduction to the fundamentals of music technology geared to the needs of today’s professional musician. One of the most significant challenges facing musicians today is mastering the skills required to continually adapt to a changing technology base. Musicians today must understand and be prepared for the fact that this technology base is moving more rapidly than it can be assimilated. The course topics will give an overview of all aspects of the current technology with the primary goal of enabling students to make intelligent decisions in evaluating future technological needs.

Building upon basic concepts and skills learned in MTEC-111 Introduction to Music Technology, this course will give students an opportunity to continue to explore the creative uses of music technology tools and deepen their understanding of the principles that underly these uses of technology. By completing a number of hands-on projects and assignments, students will advance their knowledge of audio recording and editing; MIDI sequencing; sound design using synthesizers, samplers, and DSP applications; notation software; and web authoring for purposes of self-promotion.

A course focusing on issues related to synthesizer architecture, patch programming/editing, and functionality within the MIDI production environment. A variety of synthesizer technologies will be addressed, including subtractive, FM, sampling, hybrid, and software-based synthesis.